Monthly Archives: April 2012


Many people would probably say that they have no interest in, let alone experience of, the algorithmic processes driving antennae in wireless networks such as Bluetooth or Wi-Fi. Does media theory need to think about antennae and algorithms? Should it begin to conduct research into the cultural life of antennae? This is not the point. Rather, as James says:

To be radical, an empiricism must neither admit into its constructions any element that is not directly experienced, nor exclude from them any element that is directly experienced. For such a philosophy, the relations that connect experiences must themselves be experienced relations, and any kind of relation experienced must be accounted as ‘real’ as anything else in the system. (James, 1996, 42)

The key point here is that ‘the relations that connect experiences must themselves be experienced relations.’ James at work in his wireless library, and all the billions of wireless chips in their algorithmically driven handling of conjunctive relations together construct experiences filled with conjunctive relations. But in what sense are the algorithmic processes of wireless networks a part of the expanded experience of wirelessness?


issue 13 – After convergence: what connects? 

Wirelessness as Experience of Transition

Adrian Mackenzie

Institute for Cultural Research, Lancaster University 


New Aesthetic Intuition

The New Aesthetic has something very exciting to it. But it also made me angry, as if I was spoiling my time with it. In this respect it seems to reflect the qualities of its subject. As I read in one of the many comments on one of the many blogposts: it took the guilt out of distraction.

Intuition is like a slow motion machine that captures data instantaneously and hits you like a ton of bricks. 

— Abela Arthur 

The New Aesthetic is not built upon a heap but upon a cloud of images. It’s a networked reflection, a distributed dialectic, patiently and full of confidence moving slowly towards something that will ’emerge’.

The New Aesthetic is old fashioned by using the image as its foremost vehicle. The New Aesthetic is old fashioned by using the flag and the name-banner as its landmark. But this makes it all the more contemporary. The New Aesthetic is a remediation of the rhizomatic. 

The New Aesthetic is a collective wondering, a distributed drift. It takes the Web not only as a shared external memory, it becomes a shared and social cyberpsychogeographical wandering. It renders the rhizome into the real.

The New Aesthetic is not a scene or movement. It is a collective algorithmic query, a distributed Google Image Search. It’s a viral intuition.

The New Aesthetic is an inside-out panopticon. A faceless gaze into a mirror. Mise-en-abime, beyond the interface. It’s the melting of the silver backside of the mirror.

The New Aesthetic is the dissolution of the cultural interface. It’s the  mirror-stage of the perpetual socio-technological momentum. It’s a blurring and glitchy foggy cloud.

The New Aesthetic is the birth of the last medium. “The true novelty is that it not refers for its meaning to other media at all. For our culture, such mediation without remediation seems impossible.” (adaptation of Bolter & Grusin) It’s the vaporization of the interface.

The New Aesthetic is our first true libidinal relation with the socio-techological body image. The New Aesthetic is a sociotechno-phenomenological experiment towards a socio-technological ontology.

The New Aesthetic is shifting our relation with technology from instinctive and animistic to intuitive and supernatural.

Sincerely yours,

Bram Crevits

Les Maitres Fous – Jean Rouch

Watch Jean Rouch : Les maîtres fous – The mad masters in Educational  |  View More Free Videos Online at

A documentary by the French Jean Rouch about spiritual possession in Africa during the colonial age. The possession itself was ‘inspired’ by Western man & technology.

Reacting to the New Aesthetic


Trap street trapped, while clouds are storming dancing in the sky.
Staring at the rippled puddles of the road, at an Animated blending of distortion and façades.


On your knees knee-deep in this nameless storm in fluidifying blurb, missing out even on the gaze and on the meshes of the dome.


The levees break and the Maelström sucks.
Not waving though, just drowning